Course # / Title:	CRN 27132, AET 2370.03 – Studio Production I
Course Credit Hours:	3 Credit Hours
Semester:	Spring 2009
Instructor:	Rande Isabella, M.M., B.M.
Instructor Contacts:	(330) 885-2138; isabellar@mail.belmont.edu
Instructor Office Hours:	M-W 2-4pm, By appointment only
Class Location:	Music Square East, Room 218
Meeting Time(s):	11:00am – 12:15pm 01/14/09 – 05/5/09
Final Exam:	Thursday, May 7 at 11:00am
Class Webpage:	Blackboard via your BIC account.

Course Description:

AET 2370 Studio Production I (3).  Prerequisite: AET1380 or permission by instructor.  This course is an introductory study of the role of the producer and the use of music production techniques required to create a successful song demo. Lab hours are required.

Course Outcomes: At the end of this course, the student will be able to:

ú recognize and appraise musical and technical differences in audio examples using critical listening skills.

ú apply a working knowledge of audio terminology and production concepts.

ú describe how structure, instrumentation, and format of a demo conveys ideas in various musical styles.

ú demonstrate basic ability to create a song demo by manipulating professional recording equipment in analog and digital formats.

ú describe and implement basic procedures used in the recording process.

ú recall and apply the basic structure of the Nashville Number System.

ú describe unique production techniques and signature sounds of notable producers

ú identify career paths of producers

Performance Tasks: During this course, the student will:

ú complete journals of observations on production techniques based on in-class listening exercises.

ú listen, identify, and articulate musical and technical elements found in recordings.

ú plan, organize, and produce multi-track demo recordings within a team context of producer, engineer, and musician.

ú write and provide documentation of pre-production, session procedures, and reflection for recording projects.

ú evaluate the musical and technical elements of peers’ recording projects.

ú identify and apply foundational elements of the Nashville Number System by writing two number charts.

ú write a biographical paper on a notable producer or conduct a personal interview with a notable producer.

ú identify basic functions, unique production techniques, career paths and roles of audio producers

ú complete written personal reflections on production techniques

ú recall important production terms on a multiple choice tests

Assessment Tools: During this course, outcomes mastery will be evaluated by:

• (2) Reflection Papers (Homework) on in-class topics and discussions
• (3) Terminology/Concept Tests
• (2) Production Projects
• (1) Research Paper
• (1) Final Exam

Activity	Credit	Purpose/Description
1.       Production Projects (2)	38%	#1. Guitar/Vocal or Keyboard/Vocal Song Demo
	Project 1 (80 pts)	#2.Computer-recorded & Sequenced Song Demo
	Project 2  (300 pts)	Two collaborative group recording projects demonstrate the student’s ability to demo a song using classroom studio(s).  Project 1 will contain 1 vocal track and 1 accompaniment track. Project 2 will contain a minimum of 3 sequenced tracks and 3 audio tracks. Projects will consist of a submitted CD containing the recording, a three-page report. Report will include preproduction activities, anecdotal descriptions of the recording process, improvement considerations, and conclusions and oral presentations in class. Recordings and papers are graded using a project rubric.
2. Reflection Assignments  (2)	(120 pts)   12%	Two, 2 page homework reflection papers discussing in-class topics and/or assigned reading. Graded using reflection paper rubric.
3. Terminology/Concept Exams (3)	(150 pts) 15%	Based on reading assignments, lectures and listening.  Comprehensive exams will assess the depth of the student’s knowledge of the topic.  Each test is a series of multiple choice style questions.
4. Research Paper (1)	(150 pts) 15%	A biographical research paper on a chosen producer.  Demonstrates the application of knowledge gained from in-class lectures and reading. Research papers are graded using a paper rubric.
5. Listening Journals (2)	(120 pts) 12%	A critical listening journal. Demonstrates the application of in-class and reading concepts and terminology. Journals are graded using a rubric.
6. Final Exam	(80 pts) 8%	A comprehensive final exam based on reading assignments, lectures and listening. Final exam will assess the depth of the student’s knowledge of the topic.  Multiple choice questions.

Course & Classroom Policies:

Attendance & Participation:

Class attendance follows university policy as stated in the current Undergraduate Bulletin.  Class participation is expected; attendance and absence will be noted. 

http://www.belmont.edu/catalog/undergrad2008jun/apolicy/index.html

Points (%) will be deducted from the final grade for unexcused absences.  1 absence, 1.5%; 2 absences, 3%;              3 absences,  4.5%;  4 absences,  6%;  5 absences,  7.5%; 6 absences, 9%; 7 absences, 10.5%; 8 absences, 12%; 9 absences, 13.5%; 10 absences, the student will be dropped from the class with a failing grade (WF). 

Required Materials:

Behind the Glass: Top Record Producers Tell How They Craft the Hits (Paperback)

       1^st edition, Howard Massey; Miller Freeman Books (October 30, 2000)

Recommended Materials:

1. Course handouts distributed in class.  Students are responsible for all information contained in the workbook and other readings assigned.  Keeping a class notebook/binder and owning a three-hole punch is highly recommended. 

2. 3 ring notebook for listening journal notes

3. Web access for cyberlinks on instructors’ websites.  Students will be required to access various informational sources on the internet.  Blackboard access (via BIC) is also necessary

4. CD-Rs as needed (for turning in projects)

5. Digidesign Pro Tools 8 Reference Guide – free download from http://www.digidesign.com.

6. (Optional) An external USB 2.0/firewire drive, or a USB flash drive for backups of your recording projects. Studio drives are periodically checked, cleaned, and ERASED.  STUDENTS are ultimately responsible for any lost files.  Backup material frequently.   FAT 32 format preferred for moving between MAC and PC.

Grade Evaluation:  As per CEMB policy, the grade assignment scale for this course is:

Grade	Percent (GPA)
A	94 (4.0)
A-	90 (3.7)
B+	87 (3.3)
B	84 (3.0)
B-	80 (2.7)
C+	77 (2.3)
C	74 (2.0)
C-	70 (1.7)
Final grades below 70 % will not apply to the major.
D+	67
D	64
D-	60
F	< 60

All test dates are noted in the class schedule. Quizzes may be unannounced.  No makeup tests will be given.  The final test is a comprehensive exam.  Test dates may be subject to change with exception of the final exam.  No electronic devices of any kind maybe used during exams. 

Honor Code:  It is the responsibility of each student to abide by the Belmont University Honor Code.  “In affirmation of the Belmont University Statement of Values, I pledge that I will not give or receive aid during examinations; I will not give or receive false or impermissible aid in course work, in the preparation of reports, or in any other type of work that is to be used by the instructor as the basis of my grade; I will not engage in any form of academic fraud. Furthermore, I will uphold my responsibility to sees to it that others abide by the spirit and letter of this Honor Pledge.”

Accommodation of Disabilities:  In compliance with Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, Belmont University will provide reasonable accommodation of all medically documented disabilities.  If you have a disability and would like the university to provide reasonable accommodations of the disability during this course, please notify the Office of the Dean of Students located in Beaman Student Life Center (460-6407) as soon as possible.

Class Schedule:

AET 2370 / Spring 2009
Date			Topics			Assignments/Activities
January	14	W	FIRST DAY OF CLASS; ORIENTATION	Syllabus review Various handouts Read “The Session” @ http://coba.belmont.edu/fac/tappant/3370THESESSION.htm
	21	W	Role of the Producer Principles-Purpose/Simplicity Differences between Demo & Master Production Watch Metallica Video	Assign lab groups Hand out terms for Test #1
	26	M	Basic Studio Operations Discuss papers Watch Metallica Video		2 page reflection paper on Role of Producer due Studio recording procedures – review of basic TOFT console and use of the Alesis HD24 Hard Disk Recorder
	28	W	Recording Using the Toft & Alesis Recorder		Review of recording procedures including vocal booth setup, using a mic, setting levels, monitoring, cue sends, recording tracks. Students bring in a project to record Instructor gives students hands on instruction on how to record
February	2	M	Mixing the Demo		Using a compressor, adding EQ, EFX, mixdown, burning a CD, NARAS documentation. Instructor gives students hands on instruction on how to mix using  simple outboard console
	4	W	Terminology/Concept Review & Test 1		Exam #1
	9	M	DAW Recording Introduction to the Nashville number  system		ProTools 101 – The basics; computer, I/O audio interface, storage, opening creating & storing a session, monitoring and playback. Discussion of NNS symbols
	11	W	DAW Recording Continued Introduction to the Nashville number  system ctd		Basic Pro-Tools recording procedures; using a mic, setting levels, monitoring, cue sends, & recording tracks. Examples of NNS charts
	16	M	Project 1 Presentations		Project #1 due. (Recording & Mix to use TOFT & Alesis) Presentation of projects and submission of recordings and reports.
	18	W	Project 1 Presentations DAW Recording Continued (if time)		Presentation of projects continued Turn in CDs for journal listening Hand out Test #2 Terms
	23	M	Journal listening exercise #1		Discussion of production principles and implementation techniques
	25	W	Journal listening exercise #1 continued (Watch NNS video if extra time)		Discussion of production principles and implementation techniques
	2	M	Terminology/Concept Review & Test 2		Exam #2 Journal #1 due
	4	W	DAW Sequencing Give MIDI pretest and lecture		MIDI/sequencing/loops in Protools lab
March	9-13		Spring Break – No class		Work on papers!
	16	M	DAW Sequencing continued Continue MIDI lecture		MIDI/sequencing/loops in Protools lab
	18	W	DAW Sequencing continued		MIDI/sequencing/loops in Protools lab
	23	M	Guest Speaker
	25	W	Video or Session Observation		tba
	30	M	DAW Sequencing		Discuss uses of signal processing in commercial demos. ProTools Mix procedures; How to move from recorded tracks to mixing. Using a compressor, adding EQ & EFX, mixdown, burning a CD, documentation.
April	1	W	Discuss reflection paper DAW Workshop		2-page reflection paper on Signal processing & judging sound quality due Professor critiques student projects and also shows them how he/she would approach a real world project
	6	M	Discuss producer papers		Producer research paper due
	8	W	Easter Break – No class
	13	M	DAW Workshop		Professor critiques student projects and also shows them how he/she would approach a real world project Turn in CDs for journal listening
	15	W	Journal listening exercise #2		Discussion of production principles and implementation techniques
	20	M	Journal listening exercise #2 continued		Discussion of production principles and implementation techniques
	22	W	Terminology/Concept Review & Test 3		Exam #3
	27	W	Project 2 Presentations		Presentation of projects and submission of recordings and reports
	29	W	Project 2 Presentations		Presentation of projects and submission of recordings and reports
May	4	M	Class Wrap		Tie up loose ends Review for Final Exam
	7	R	FINAL EXAM - AET 2370.03 – 11:00am

Reading Schedule – “Behind the Glass” textbook

Week 2 – East Coast Panel, Glen Ballard, Al Schmitt

Week 3 – Arif Mardin, Brian Wilson, Phil Ramone

Week 4 – Elliot Scheiner, Humberto Gatica, George Martin

Week 5 – Geoff Emerick, John Leckie, Alan Parsons

Week 6 –Steve Churchyard,Eddie Kramer, Andy Johns

Week 7 –Tony Visconti, Jack Douglas, Thom Panunzio,

Week 8 – George Massenburg, Nile Rodgers, Keith Olsen

Week 9 – Frank Filipetti, Mitchell Froom, Ed Cherney,

Week 10 – Mike Clink, Craig Leon, Mick Glossop,

Week 11 – Mike Hedges Steven Hague,

Week 12 – Steve Levine, Walter Afanasieff, Chuck Ainlay

Week 13 – Ralph Sutton, Sylvia Massy Shivy

Week 14 – Danny Saber , West Coast Producers panel

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